Phantom Closing? — Page 31

I don’t understand how the show could come back cheaper when it currently uses technology that is 35 years old, and the show recouped? My understanding is that the most recent tour that was scaled down was scaled down to play smaller venues, not because it was less expensive.

Could somebody point me to a description of how the new London production differs from what is currently on Broadway?

QueenAlice said: "Could somebody point me to a description of how the new London production differs from what is currently on Broadway?"

Here you go:

thedrybandit said: "pmensky said: "I don’t understand how the show could come back cheaper when it currently uses technology that is 35 years old, and the show recouped? My understanding is that the most recent tour that was scaled down was scaled down to play smaller venues, not because it was less expensive."

By closing the original production, they can add automation, have a younger cast that wouldn't push for higher salaries, and cut down on the royalties that get paid to the the original creative team or their estates. They can also cut the orchestra down, as they did in London. Smaller orchestra means less money paid each week to musicians, as does automating the show more. It's cheaper to pay one technician to run automation than it is to have a full crew backstage to move set pieces around. Lots of small changes like that let Cameron Mackintosh shove extra money in his pocket, rather than pay the people making the show happen."

A lot of this is true, but it’s sort of like robbing Peter to pay Paul. First, the salary of the actors argument is not very valid here, Aside from a few people who may have been with the current production for a while, they don’t just pay young people less, and there are still young people coming and going from the current production. This is not really a valid point in the big picture of a budget. Yes, they can automate, but they have to pay for all new systems for that, as well as new lights, costumes, props, etc., and while they will pay less in royalties to the old creatives they’re still going to pay royalties to the new creatives. Also, it’s not going to be any cheaper to rent a theatre or to pay a show’s weekly costs in two years. So yeah, if the new production were to run for a very long time, they’d eventually save some money, but that’s a pretty big gamble to assume an immediate revival would have the kind of longevity required for this to pay off.

Lot666 said: ""Lloyd Webber, whose Really Useful Theatre Company is listed as a main producer for the show, didn't speak to the reasons behind the decision...Cameron Mackintosh, another main producer of Phantom on Broadway, couldn't be reached for comment."

Shocking."

I'm curious if a future production can be done via RUG alone without Cameron or is he forever wedded to the show.

A banner saying GOING OUT OF BUSINESS SALE should be hung on the theatre and then never close.

ALW will fight to keep POTO open once Bad Cinderella flops.

Andrew and his reps can easily adapt the language of his achievement to say "ALW has had a show on Broadway in every year since X." Which means he's now off the hook until the end of 2024 when perhaps we'll see the return of Evita or Joseph.

Unless something major happens with the Bad Cinderella grosses –– or unless ALW and Steve Schwartzman want to throw an eyewatering sum of money into a sinking ship, which feels unlikely –– I doubt Bad Cinderella will be around past Labor Day. I'd be surprised if the reviews are better than mixed.

Updated On: 3/15/23 at 04:42 PM

A Director said: "A banner saying GOING OUT OF BUSINESS SALE should be hung on the theatre and then never close.

ALW will fight to keep POTO open once Bad Cinderella flops."

So within the next month ALW this will happen?

I just don’t know why bring POTO back so soon. It’s closing after a record breaking 35 year run. It will remain the longest running musical on Broadway history for a long long time (unless Chicago runs another 8-9 years). I think people should just enjoy the time and experiences that they had with the show over the years and just move on. Maybe bring it back in like 10 years or so. Give it some time. To close the last ever running Hal Prince production and just immediately replace it with a scaled down cheaper version is just an insult to Prince and all the hard work he and the rest of the OG creative team put through with this show. Call me ridiculous but it just doesn’t make sense.

I see no reason to bring POTO back less than 3 years post-closing. Let people want it again. Or, you know, don't close Hal's production.

As for Andrew's future plans, I can't predict. I don't know how much of Really Useful's own money is in Bad Cinderella. They're the second-billed lead producer after No Guarantees. I don't know if he has any new shows in the pipeline either.

Songofpurplesummer2 said: "Hello does anyone know if Phantom is participating in the BCEFA collections and if they are selling and signed playbills or window cards? Thank you :)"

They should be selling signed posters soon. I know someone who saw the show yesterday and he saw the cast downstairs signing posters after the matinee.

Tickets for the benefit performance go on sale tomorrow

g.d.e.l.g.i. said: "My theory, for those who have forgotten as this thread has stretched on and on:

* They saw with the wildly redesigned and restaged 25th-anniversary tour's reception that, even though it sold well enough, they couldn't follow the path Cam Mack had already taken withLes Mis. There would be conniptions. Instead, they had to downsize the original production, and tweak it here and there, just different enough to end the royalty agreements and save them some money, 'cause Lord knows their pockets are hurtin' (/s), but just close enough that the broad ticket-buying public would think they were getting the genuine article because "iT lOoKs jUsT lIkE tHe oRiGiNaL." Thus, the birth of the downsized "Brilliant Original" tour and the adoption of the "Brilliant Original" tagline on the actual original stagings, the better to create an association in the public's mind and swap one for the other down the road.

* After the pandemic laid waste to what I understand were their original plans, and they had to handle the rollout differently, I think they spied an opportunity to get it right for Broadway after shoddily handling the UK switcheroo -- close it, give it at least one extension to milk the profits if the grosses went up, and then let it rest a while, during which time they take NBC up on their television offer. (Remember that being announced last fall? Pepperidge Farm remembers.)

* The gambit I feel they assume will work: the new TV show fans the flames of interest in the production, as they talk up all the elements that will be part of the "Brilliant Original" when it returns (new tech, fewer musicians "but still the same lush, melodic sound" [snort], mild restaging and touching up the designs), and then ifThe Show Must Go Onis a rating juggernaut, roll out the red carpet because the "Brilliant Original" will make its grand return to the Great White Way."

THIS. All of this. This is exactly what the plan is and was in the past.